(Music)
(Muzika)
What you just heard are the interactions of barometric pressure, wind and temperature readings that were recorded of Hurricane Noel in 2007. The musicians played off a three-dimensional graph of weather data like this. Every single bead, every single colored band, represents a weather element that can also be read as a musical note. I find weather extremely fascinating. Weather is an amalgam of systems that is inherently invisible to most of us. So I use sculpture and music to make it, not just visible, but also tactile and audible.
Ono što ste upravo čuli je interakcija vazdušnog pritiska, vetra i očitavanja temperature, koja su snimana kod uragana Noel 2007. godine. Muzičari su odsvirali trodimenzionalni grafikon vremenskih podataka, kao što je ovaj. Svaka pojedinačna perla, svaka obojena traka, predstavlja vremenski element koji se takođe može čitati kao muzička nota. Smatram da je vreme izuzetno fascinantno. Vreme je mešavina sistema koja je prirodno nevidljiva za većinu nas. Zato, ja koristim skulpturu i muziku da bih ga učinila, ne samo vidljivim, već opipljivim i zvučnim.
All of my work begins very simple. I extract information from a specific environment using very low-tech data collecting devices -- generally anything I can find in the hardware store. I then compare my information to the things I find on the Internet -- satellite images, weather data from weather stations as well as offshore buoys. That's both historical as well as real data. And then I compile all of these numbers on these clipboards that you see here. These clipboards are filled with numbers. And from all of these numbers, I start with only two or three variables. That begins my translation process.
Sav moj posao počinje vrlo jednostavno. Izvodim informacije iz određene sredine koristeći tehnički veoma primitivne uređaje za prikupljanje podataka -- generalno sve što mogu naći u gvožđarskoj radnji. Nakon toga, upoređujem svoje informacije sa stvarima koje pronađem na internetu -- satelitske fotografije, podatke o vremenu iz meteo-stanica kao i sa bova u blizini obale. To su i istorijski i stvarni podaci. Nakon toga, sastavljam sve brojeve na ovim malim tablama koje možete da vidite ovde. Ove male table su ispunjene brojevima. I od svih tih brojeva, započinjem sa samo dve ili tri varijable. Ovim počinje proces mog prevođenja.
My translation medium is a very simple basket. A basket is made up of horizontal and vertical elements. When I assign values to the vertical and horizontal elements, I can use the changes of those data points over time to create the form. I use natural reed, because natural reed has a lot of tension in it that I cannot fully control. That means that it is the numbers that control the form, not me. What I come up with are forms like these. These forms are completely made up of weather data or science data. Every colored bead, every colored string, represents a weather element. And together, these elements, not only construct the form, but they also reveal behavioral relationships that may not come across through a two-dimensional graph.
Moj medij za prevođenje je vrlo jednostavna korpa. Korpa je napravljena iz horizontalnih i vertikalnih elemenata. Kada prenosim vrednosti vertikalnim i horizontalnim elementima, mogu koristiti promene onih podataka kroz vreme da bih stvorila oblik. Mogu koristiti prirodnu trsku, jer prirodna trska ima u sebi mnogo napona, koji ne mogu u potpunosti da kontrolišem. To znači da brojevi kontrolišu oblike, a ne ja. Ono što na kraju napravim je oblik kao što je ovaj. Ovi oblici su u potpunosti napravljeni od vremenskih ili naučnih podataka. Svaka obojena perla, svaka obojena traka, predstavlja vremenski element. I zajedno, ovi elementi, ne samo da grade oblike, već, takođe, otkrivaju odnose u ponašanju koji se ne mogu naći na dvodimenzionalnom grafiku.
When you step closer, you actually see that it is indeed all made up of numbers. The vertical elements are assigned a specific hour of the day. So all the way around, you have a 24-hour timeline. But it's also used to assign a temperature range. On that grid, I can then weave the high tide readings, water temperature, air temperature and Moon phases. I also translate weather data into musical scores. And musical notation allows me a more nuanced way of translating information without compromising it.
Kada se približite, vidite zapravo da je sve zaista napravljeno od brojeva. Vertikalni elementi određuju specifične sate u danu. Dakle, sve zajedno, imate 24-casovnu vremensku crtu. Ali, koriste se i za određivanje opsega temperature. Na toj koordinatnoj mreži, mogu zatim utkati i očitavanja plime, temperaturu vode, vazduha i faze Meseca. Takođe prevodim i podatke o vremenu u muzičke note. A muzička notacija mi omogućava određen način prevođenja informacija bez njihovog otkrivanja.
So all of these scores are made up of weather data. Every single color, dot, every single line, is a weather element. And together, these variables construct a score. I use these scores to collaborate with musicians. This is the 1913 Trio performing one of my pieces at the Milwaukee Art Museum. Meanwhile, I use these scores as blueprints to translate into sculptural forms like this, that function still in the sense of being a three-dimensional weather visualization, but now they're embedding the visual matrix of the musical score, so it can actually be read as a musical score.
Tako da, svaka od ovih nota je stvorena od vremenskih podataka. Svaka pojedinačna boja, crta, je vremenski element. I zajedno, ove varijable grade note. Koristim ove note da sarađujem sa muzičarima. Ovo je Trio 1913 koji izvodi jedno od mojih dela u Umetničkom Muzeju u Milvokiju. U međuvremenu, ja koristim ove note kao nacrte za prevođenje u skulpturu kao što je ova, koja još uvek funkcioniše kao da je trodimenzionalna vremenska vizuelizacija, ali sada ugrađuju vizuelnu matricu muzičke partiture, tako da se zapravo mogu čitati kao muzičke note.
What I love about this work is that it challenges our assumptions of what kind of visual vocabulary belongs in the world of art, versus science. This piece here is read very differently depending on where you place it. You place it in an art museum, it becomes a sculpture. You place it in a science museum, it becomes a three-dimensional visualization of data. You place it in a music hall, it all of a sudden becomes a musical score. And I really like that, because the viewer is really challenged as to what visual language is part of science versus art versus music.
Ono što volim u ovom poslu je da preispituje naše pretpostavke o tome koja vrsta vizuelnog rečnika pripada svetu umetnosti, a koja nauci. Ovo delo ovde čitano je vrlo različito zavisno od toga gde ste ga postavili. Postavite ga u umetnički muzej, ono postaje skulptura. Postavite ga u muzej nauke, ono postaje trodimenzionalna vizuelizacija podataka. Postavite ga u muzičku dvoranu i ono iznenada postaje muzičko delo. I to mi se zaista sviđa, jer je gledalac pred izazovom o tome da li je vizuelni jezik deo nauke ili umetnosti ili muzike.
The other reason why I really like this is because it offers an alternative entry point into the complexity of science. And not everyone has a Ph.D. in science. So for me, that was my way into it.
Drugi razlog zbog kog zaista volim ovo je zato što nudi alternativnu polaznu tačku u složenost nauke. A nemaju svi doktorat iz nauke. Dakle za mene, ovo je bio moj put.
Thank you.
Hvala Vam.
(Applause)
(Aplauz)